Thus the Christian ethic presents itself from the start as a displacement from the realm of the word, meaning also of thought and knowledge, to the r… - Michel Henry
" "Thus the Christian ethic presents itself from the start as a displacement from the realm of the word, meaning also of thought and knowledge, to the realm of action. This displacement is decisive for three reasons. First, it leads the world’s truth back to Life’s. Second, dissipating all the illusions that traditionally link the truth to representation, to theory, and to their ecstatic foundation, it unequivocally relates Life’s Truth to the process of its self-engendering, to the power of an action. Third, in life, it is precisely no longer the ego’s power, the I Can constitutive of its will and freedom, that is at issue, but the “Father’s Will,” or the process of absolute Life’s self-engendering. Now the ethic can link the two lives, the ego’s and God’s, in such a way that it assures the former’s salvation in practice. To do the Father’s will designates the mode of life in which the Self’s life takes place, so that what is henceforth accomplished in it is absolute Life in its essence and by its requirements.
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About Michel Henry
Michel Henry (10 January 1922 – 3 July 2002) was a French philosopher, phenomenologist and novelist. He wrote five novels and numerous philosophical works. He also lectured at universities in France, Belgium, the United States, and Japan. His novel L'amour les yeux fermés (Love With Closed Eyes) has won the Renaudot Prize in 1976.
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Phenomenological definition of God
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Additional quotes by Michel Henry
Art will rediscover its way in a different type of nature (from the Galilean nature). The sensible qualities of this nature are not reduced to external features, as mere signs that are limited to 'representing' a foreign reality. These qualities are modes of life: impressions, tones and tonalities. This is what I mean: by tearing colours and linear forms away from the ideal archetype of meanings that constitute the objective world and by taking them in their non-referential pictoriality, Kandinskian abstraction does not depart from nature but returns to its inner essence. This original, subjective, dynamic, impressional and pathetic nature -- the true nature whose essence is Life -- is the cosmos. A dazzling claim from The Blaue Reiter Almanac, highlighted by Kandinsky himself, defines the Arche (or the Origin) where Art and Cosmos are identical: 'The world sounds. It is a cosmos of spiritually affective beings. Thus, dead matter is living spirit'.
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The experience of red does not consist of perceiving a red object or the colour red as such and of taking it as being red; instead, it consists of experiencing the power of the impression in ourselves. That is what eliminates all objective mediation from painting: the mediation of objects, the sense that they can be given, thought, 'culture' with its variations by time and place and ultimately the various theories that represent this non-existent mediation. That is also why abstract painting, which bypasses the mediation of language and culture understood as a group of representations, can be called a popular art. It is devoted to the expressive power and the direct communication of colour, its immediate experience in life.
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